Follow NASA’s Artemis I Moon Mission: Live Tracker, Latest Images, And Videos

Gorgeous circle of mushrooms almost two weeks after they emerged.

Hygrocybe coccinea

Slovakia

Brings back childhood memories of studying NASA concept art for my Space Lego projects

Behold—the space station of the future! (…from 1973)

This artist’s concept gives a cutaway view of the Skylab orbital workshop, which launched 50 years ago on May 14, 1973. Established in 1970, the Skylab Program's goals were to enrich our scientific knowledge of Earth, the sun, the stars, and cosmic space; to study the effects of weightlessness on living organisms; to study the effects of the processing and manufacturing of materials in the absence of gravity; and to conduct Earth-resource observations.

Three crews visited Skylab and carried out 270 scientific and technical investigations in the fields of physics, astronomy, and biological sciences. They also proved that humans could live and work in outer space for extended periods of time, laying the groundwork for the International Space Station.

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Rockets, Racecars, and the Physics of Going Fast

When our Space Launch System (SLS) rocket launches the Artemis missions to the Moon, it can have a top speed of more than six miles per second. Rockets and racecars are designed with speed in mind to accomplish their missions—but there’s more to speed than just engines and fuel. Learn more about the physics of going fast:

Take a look under the hood, so to speak, of our SLS mega Moon rocket and you’ll find that each of its four RS-25 engines have high-pressure turbopumps that generate a combined 94,400 horsepower per engine. All that horsepower creates more than 2 million pounds of thrust to help launch our four Artemis astronauts inside the Orion spacecraft beyond Earth orbit and onward to the Moon. How does that horsepower compare to a racecar? World champion racecars can generate more than 1,000 horsepower as they speed around the track.

As these vehicles start their engines, a series of special machinery is moving and grooving inside those engines. Turbo engines in racecars work at up to 15,000 rotations per minute, aka rpm. The turbopumps on the RS-25 engines rotate at a staggering 37,000 rpm. SLS’s RS-25 engines will burn for approximately eight minutes, while racecar engines generally run for 1 ½-3 hours during a race.

To use that power effectively, both rockets and racecars are designed to slice through the air as efficiently as possible.

While rockets want to eliminate as much drag as possible, racecars carefully use the air they’re slicing through to keep them pinned to the track and speed around corners faster. This phenomenon is called downforce.

Steering these mighty machines is a delicate process that involves complex mechanics.

Most racecars use a rack-and-pinion system to convert the turn of a steering wheel to precisely point the front tires in the right direction. While SLS doesn’t have a steering wheel, its powerful engines and solid rocket boosters do have nozzles that gimbal, or move, to better direct the force of the thrust during launch and flight.

Racecar drivers and astronauts are laser focused, keeping their sights set on the destination. Pit crews and launch control teams both analyze data from numerous sensors and computers to guide them to the finish line. In the case of our mighty SLS rocket, its 212-foot-tall core stage has nearly 1,000 sensors to help fly, track, and guide the rocket on the right trajectory and at the right speed. That same data is relayed to launch teams on the ground in real time. Like SLS, world-champion racecars use hundreds of sensors to help drivers and teams manage the race and perform at peak levels.

Knowing how to best use, manage, and battle the physics of going fast, is critical in that final lap. You can learn more about rockets and racecars here.

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had a dream where my mom tried to give our Venus fly trap a spoonful of milk and it immediately started hacking and coughing like an adult human man

BMW iX Flow featuring E Ink !

With the BMW iX Flow featuring E Ink being presented on the occasion of CES 2022, the Munich-based premium car manufacturer is offering the prospect of a future technology that uses digitisation to adapt the exterior of a vehicle to different situations and individual wishes. The surface of the BMW iX Flow featuring E Ink can vary its shade at the driver’s prompting.

I’m still crying over the beauty that was the Sony Reader. Cell service, stylus, dictionary, touchscreen, audio and came in a robust case.

Amazon killed E-ink innovation. But it's back.

Amazon killed E-ink innovation. But it’s back.

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Adobe steals your color

When a company breaks a product you rely on — wrecking decades of work — it’s natural to feel fury. Companies know this, so they try to deflect your rage by blaming their suppliers. Sometimes, it’s suppliers who are at fault — but other times, there is plenty of blame to go around.

For example, when Apple deleted all the working VPNs from its Chinese App Store and backdoored its Chinese cloud servers, it blamed the Chinese government. But the Chinese state knew that Apple had locked its devices so that its Chinese customers couldn’t install third-party apps.

That meant that an order to remove working VPNs and apps that used offshore clouds from the App Store would lock Apple customers into Chinese state surveillance. The order to block privacy tools was a completely foreseeable consequence of Apple’s locked-down “ecosystem.”

https://locusmag.com/2021/01/cory-doctorow-neofeudalism-and-the-digital-manor/

In 2013, Adobe started to shift its customers to the cloud, replacing apps like Photoshop and Illustrator with “Software as a Service” (“SaaS”) versions that you would have to pay rent on, every month, month after month, forever. It’s not hard to understand why this was an attractive proposition for Adobe!

Adobe, of course, billed its SaaS system as good for its customers — rather than paying thousands of dollars for its software up front, you could pay a few dollars (anywhere from $10-$50) every month instead. Eventually, of course, you’d end up paying more, assuming these were your professional tools, which you expected to use for the rest of your life.

For people who work in prepress, a key part of their Adobe tools is integration with Pantone. Pantone is a system for specifying color-matching. A Pantone number corresponds to a specific tint that’s either made by mixing the four standard print colors (cyan, magenta, yellow and black, AKA “CMYK”), or by applying a “spot” color. Spot colors are added to print jobs after the normal CMYK passes — if you want a stripe of metallic gold or a blob of hot pink, you specify its Pantone number and the printer loads up a separate ink and runs your media through its printer one more time.

Pantone wants to license this system out, so it needs some kind of copyrightable element. There aren’t many of these in the Pantone system! There’s the trademark, but that’s a very thin barrier. Trademark has a broad “nominative use” exception: it’s not a trademark violation to say, “Pantone 448C corresponds to the hex color #4a412a.”

Perhaps there’s a copyright? Well yes, there’s a “thin” database copyright on the Pantone values and their ink equivalents. Anyone selling a RIP or printer that translates Pantone numbers to inks almost certainly has to license Pantone’s copyright there. And if you wanted to make an image-editing program that conveyed the ink data to a printer, you’d best take a license.

All of this is suddenly relevant because it appears that things have broken down between Adobe and Pantone. Rather than getting Pantone support bundled in with your Adobe apps, you must now pay $21/month for a Pantone plugin.

https://twitter.com/funwithstuff/status/1585850262656143360

Remember, Adobe’s apps have moved to the cloud. Any change that Adobe makes in its central servers ripples out to every Adobe user in the world instantaneously. If Adobe makes a change to its apps that you don’t like, you can’t just run an older version. SaaS vendors like to boast that with cloud-based apps, “you’re always running the latest version!”

The next version of Adobe’s apps will require you to pay that $21/month Pantone fee, or any Pantone-defined colors in your images will render as black. That’s true whether you created the file last week or 20 years ago.

Doubtless, Adobe will blame Pantone for this, and it’s true that Pantone’s greed is the root cause here. But this is an utterly foreseeable result of Adobe’s SaaS strategy. If Adobe’s customers were all running their apps locally, a move like this on Pantone’s part would simply cause every affected customer to run older versions of Adobe apps. Adobe wouldn’t be able to sell any upgrades and Pantone wouldn’t get any license fees.

But because Adobe is in the cloud, its customers don’t have that option. Adobe doesn’t have to have its users’ backs because if it caves to Pantone, users will still have to rent its software every month, and because that is the “latest version,” those users will also have to rent the Pantone plugin every month — forever.

What’s more, while there may not be any licensable copyright in a file that simply says, “Color this pixel with Pantone 448C” (provided the program doesn’t contain ink-mix descriptions), Adobe’s other products — its RIPs and Postscript engines — do depend on licensable elements of Pantone, so the company can’t afford to tell Pantone to go pound sand.

Like the Chinese government coming after Apple because they knew that any change that Apple made to its service would override its customers’ choices, Pantone came after Adobe because they knew that SaaS insulated Adobe from its customers’ wrath.

Adobe customers can’t even switch to its main rival, Figma. Adobe’s just dropped $20b to acquire that company and ensure that its customers can’t punish it for selling out by changing vendors.

Pantone started out as a tech company: a way to reliably specify ink mixes in different prepress houses and print shops. Today, it’s an “IP” company, where “IP” means “any law or policy that allows me to control the conduct of my customers, critics or competitors.”

https://locusmag.com/2020/09/cory-doctorow-ip/

That’s likewise true of Adobe. The move to SaaS is best understood as a means to exert control over Adobe’s customers and competitors. Combined with anti-competitive killer acquisitions that gobble up any rival that manages to escape this control, and you have a hostage situation that other IP companies like Pantone can exploit.

A decade or so ago, Ginger Coons created Open Colour Standard, an attempt to make an interoperable alternative to Pantone. Alas, it seems dormant today:

http://adaptstudio.ca/ocs/

Owning colors is a terrible idea and technically, it’s not possible to do so. Neither UPS Brown nor John Deere Green are “owned” in any meaningful sense, but the companies certainly want you to believe that they are. Inspired by them and Pantone, people with IP brain-worms keep trying to turn colors into property:

https://onezero.medium.com/crypto-copyright-bdf24f48bf99

The law is clear that colors aren’t property, but by combining SaaS, copyright, trademark, and other tech and policies, it is becoming increasingly likely that some corporation will stealing the colors out from under our very eyes.

[Image ID: A Pantone swatchbook; it slowly fades to grey, then to black.]

12 Great Gifts from Astronomy

This is a season where our thoughts turn to others and many exchange gifts with friends and family. For astronomers, our universe is the gift that keeps on giving. We’ve learned so much about it, but every question we answer leads to new things we want to know. Stars, galaxies, planets, black holes … there are endless wonders to study.

In honor of this time of year, let’s count our way through some of our favorite gifts from astronomy.

Our first astronomical gift is … one planet Earth

So far, there is only one planet that we’ve found that has everything needed to support life as we know it — Earth. Even though we’ve discovered over 5,200 planets outside our solar system, none are quite like home. But the search continues with the help of missions like our Transiting Exoplanet Survey Satellite (TESS). And even you (yes, you!) can help in the search with citizen science programs like Planet Hunters TESS and Backyard Worlds.

Our second astronomical gift is … two giant bubbles

Astronomers found out that our Milky Way galaxy is blowing bubbles — two of them! Each bubble is about 25,000 light-years tall and glows in gamma rays. Scientists using data from our Fermi Gamma-ray Space Telescope discovered these structures in 2010, and we're still learning about them.

Our third astronomical gift is … three types of black holes

Most black holes fit into two size categories: stellar-mass goes up to hundreds of Suns, and supermassive starts at hundreds of thousands of Suns. But what happens between those two? Where are the midsize ones? With the help of NASA’s Hubble Space Telescope, scientists found the best evidence yet for that third, in between type that we call intermediate-mass black holes. The masses of these black holes should range from around a hundred to hundreds of thousands of times the Sun’s mass. The hunt continues for these elusive black holes.

Our fourth and fifth astronomical gifts are … Stephan’s Quintet

When looking at this stunning image of Stephan’s Quintet from our James Webb Space Telescope, it seems like five galaxies are hanging around one another — but did you know that one of the galaxies is much closer than the others? Four of the five galaxies are hanging out together about 290 million light-years away, but the fifth and leftmost galaxy in the image below — called NGC 7320 — is actually closer to Earth at just 40 million light-years away.

Our sixth astronomical gift is … an eclipsing six-star system

Astronomers found a six-star system where all of the stars undergo eclipses, using data from our TESS mission, a supercomputer, and automated eclipse-identifying software. The system, called TYC 7037-89-1, is located 1,900 light-years away in the constellation Eridanus and the first of its kind we’ve found.

Our seventh astronomical gift is … seven Earth-sized planets

In 2017, our now-retired Spitzer Space Telescope helped find seven Earth-size planets around TRAPPIST-1. It remains the largest batch of Earth-size worlds found around a single star and the most rocky planets found in one star’s habitable zone, the range of distances where conditions may be just right to allow the presence of liquid water on a planet’s surface.

Further research has helped us understand the planets’ densities, atmospheres, and more!

Our eighth astronomical gift is … an (almost) eight-foot mirror

The primary mirror on our Nancy Grace Roman Space Telescope is approximately eight feet in diameter, similar to our Hubble Space Telescope. But Roman can survey large regions of the sky over 1,000 times faster, allowing it to hunt for thousands of exoplanets and measure light from a billion galaxies.

Our ninth astronomical gift is … a kilonova nine days later

In 2017, the National Science Foundation (NSF)’s Laser Interferometer Gravitational-Wave Observatory (LIGO) and European Gravitational Observatory’s Virgo detected gravitational waves from a pair of colliding neutron stars. Less than two seconds later, our telescopes detected a burst of gamma rays from the same event. It was the first time light and gravitational waves were seen from the same cosmic source. But then nine days later, astronomers saw X-ray light produced in jets in the collision’s aftermath. This later emission is called a kilonova, and it helped astronomers understand what the slower-moving material is made of.

Our tenth astronomical gift is … NuSTAR’s ten-meter-long mast

Our NuSTAR X-ray observatory is the first space telescope able to focus on high-energy X-rays. Its ten-meter-long (33 foot) mast, which deployed shortly after launch, puts NuSTAR’s detectors at the perfect distance from its reflective optics to focus X-rays. NuSTAR recently celebrated 10 years since its launch in 2012.

Our eleventh astronomical gift is … eleven days of observations

How long did our Hubble Space Telescope stare at a seemingly empty patch of sky to discover it was full of thousands of faint galaxies? More than 11 days of observations came together to capture this amazing image — that’s about 1 million seconds spread over 400 orbits around Earth!

Our twelfth astronomical gift is … a twelve-kilometer radius

Pulsars are collapsed stellar cores that pack the mass of our Sun into a whirling city-sized ball, compressing matter to its limits. Our NICER telescope aboard the International Space Station helped us precisely measure one called J0030 and found it had a radius of about twelve kilometers — roughly the size of Chicago! This discovery has expanded our understanding of pulsars with the most precise and reliable size measurements of any to date.

Stay tuned to NASA Universe on Twitter and Facebook to keep up with what’s going on in the cosmos every day. You can learn more about the universe here.

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